Shamanic Cosmology: The Reality of the Soul

Myth is the reality of the soul, just as history is the reality of the temporal world. Humans have always looked beyond the factual world of ordinary reality for something solid on which to ground their lives. The models of the mystery of life have always been based on the wisdom of inner vision. "Mythological cosmologies do not correspond to the world of gross facts, but are functions of dreams and visions," writes the late Joseph Campbell, one of the great mythologists of the twentieth century.(1) Dreams and visions have always been, and will always be, the creative forces that shape cosmology, which embodies a culture's basic ideas, truths and understanding about the nature of the universe. A culture's mythical cosmology gives physical shape to its mystical ideas in the form of stories and rituals. It is an inherent product of the psyche, a symbolic language of metaphysics recognized by shamans and seers.
 

Mythological cosmology is evocative rather than referential. It is not science or history, but rather symbolism that serves as a catalyst of spiritual well-being. In shamanic cultures, mythic cosmology serves a dual function. It not only engages the individual both emotionally and intellectually in the local tribe, but also serves as a means of disengaging from this local system in order to experience the "Great Mystery." It disengages the individual from the integrating component of ordinary thinking consciousness and invokes the mysteries of the imagination and intuition. The emphasis is on the individual, of breaking free and discovering one's own uniqueness in order to bring something new back to the group.
 

Shamanic practitioners utilize trance-inducing rhythmic drumming as a means of journeying into the mythic realms of the soul. Transported by the driving beat of the drum, the journeyer travels to the inner planes of consciousness, using myth as an inner map to guide their journey. There is a bridge on the sound waves of the drum that convey you from one world to another. In the sound world, a tunnel opens through which you can pass. When you stop playing the drum, the bridge disappears.
 

Cosmologically, the drum depicts a microcosm of the universe, as well as the vehicle of travel. Carried away on the sound of the drum, the shaman's spirit is said to ride on the animal whose hide is stretched over the drum frame. The frame of the shaman's drum is invariably round, symbolizing the circle of life. In the shaman's world, all aspects of life, energy, and the cosmos spiral in circles. The plants, the animals, the minerals, and the elemental forces of nature all exist within the circle. All creatures walk the circumference of the wheel of life, experiencing birth, life, and death. After completing a cycle of learning on the sacred wheel, each one returns to the source, the Great Mystery at the center of the circle.
 

Transformations of Myth through Time
 

The cosmology of the drum, as well as that of shamanism itself, represents the worldview of animistic Paleolithic hunting societies. The archetypal symbolism developed from a reciprocal relationship that existed between animals hunted and the tribal cultures dependent for sustenance on their offering themselves. The totemic animals or animal archetypes are themselves great teachers as well as man's co-descendants from the mythical paradise. The totemic animals gave to humans the rites to be performed whenever game animals were slain so that their spirits would return to the source for rebirth. The hunt itself was a rite of sacrifice. When the rites were properly performed and recognition thus given to the order of nature, then harmony with nature was maintained and a food supply assured.
 

The structures of shamanic cultures are circular. Like the hoop of the drum, the circle represents the wheel of life. All are equal in the circle; no one is above or below. In a circle, each person's face can be seen; each person's voice can be heard and valued.
 

Agriculture transformed the structures and cosmologies of shamanic cultures. Nomadic, subsistence hunting societies were assimilated into food growing communities structured on hierarchy. The Neolithic order of agricultural societies imposed a rigid social system on Paleolithic peoples used to the freedom and rites of the hunt. The plant displaced the animal as the model of the mysteries of life. Complex ceremonials and rituals based on the cycle of death and rebirth in the plant kingdom rigidly interlocked all individuals into the endless formal procedure. Shamans, with their individualistic style of spiritual experience, were viewed as a threat to the dogma of the ecclesiastical hierarchies. Shamanism was discredited as heresy and replaced by a socially anointed priesthood.
 

The paramount function of mythic cosmology in agricultural societies has always been that of suppressing individualism. Generally, this has been achieved by imposing dogmatic archetypes of behavior, symbols, and belief systems on people. Individual expression, interests, or modes of experience contrary to the social mandala are discouraged. The cultural imprinting of hierarchical, agriculturally based societies leaves the individual outside the realm of personal spiritual experience. Any sense of the Great Mystery is beyond the individual's grasp.
 

Today the mythologies of hierarchy and the priesthood are dissolving. Individuals are searching for new ways to relate to nature and spirituality. Joseph Campbell wrote, "What is required of us all, spiritually as well as corporeally, is much more the fearless self-sufficiency of our shamanistic inheritance rather than the timorous piety of the priest-guided Neolithic."(2)
 

Shamanic cosmology is one of disengagement from the rigid patterns that suppress the manifestations of individualism. Through the beat of the drum, a sense of the original source is evoked, along with the forces of the universe, which have been suppressed in the subliminal abyss of the unconscious for six thousand years. The drum, as a microcosm, becomes a tool for effecting changes in the macrocosm. It enables us to participate directly in the work of encountering and transforming our inner structure, which mirrors our culture. Structure determines how energy will flow, where it will be directed, and what new forms and structures will be created. Through the transformation of our inner landscapes, we transform the external landscapes. We create new forms, new structures that are not based on hierarchy, estrangement, and exploitation. We renew the sacred hoop of harmony and balance. This is the work of the shaman--of myth making.

1. Joseph Campbell, The Flight of the Wild Gander (South Bend: Regnery/Gateway, Inc., 1979).
2. Joseph Campbell, The Flight of the Wild Gander.